1. Emperor - In The Nightside Eclipse 1994
[Candlelight Records] |
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Arguably the finest Black
Metal album of them all and Emperor top this list through having
more than one defining album. In the Nightside Eclipse, revealed
grandeur not yet experienced in the Black Metal scene and this opus
par excellence can be cited as genre defining as Slayers ‘Reign in
Blood’ or ‘Napalm Deaths ‘Scum’.
Featuring two of the most influential Norwegian musicians ‘Samoth
and Ihsahn, [who were previously in, Thou Shalt Suffer], and
spawning the likes of Mortis [original bass player], Emperor are the
undisputed kings of Norwegian Black Metal.
‘Nightside Eclipse’ appeared after the equally astonishing split
with Enslaved, taking the |
invigorating
keyboard imbued Black Metal to symphonic aural heights not yet
beheld by man nor beast. The raw, desolate core of guitar and vocal
delivery was intact, yet the majesty evoked by the keyboard
orchestration was simply stunning.
The following album, 1997's Anthems To The Welkin At Dusk could
never capture the astonishing atmosphere of ‘Nightside Eclipse’.
What Anthems, did achieve was a progression of the former and where
other bands would have struggled to maintain any momentum, Emperor
just created a more dramatic and unique version of what preceded.
The same equation can be applied to the 1999 release, IX
Equilibrium. Once more the onus was not to surpass the former, but
rather to strive onwards with far more intricate Black Metal
components and daring music.
The bands influence has also had far reaching consequences with
other acts of the same shivering ilk. Samoth played bass on Burzums
‘Aske, Gorgoroths ‘Pentagram & Satyricons ‘Shadowthrone, amongst
others.
Emperor could never continue perpetually at such a release rate, and
the bands last drops of ingenuity were used on the 2001 Prometheus:
The Discipline Of Fire & Demise album, a release that was to be
their last. [for now that is]. |
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2. Mayhem - De Mysteriis Dom Sathanas 1994 [Deathlike
Silence] |
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What can be said that has
not been said? An utterly monstrous beast of an album.
Unsurpassed in its pure one-dimensional deployment of chilling aural
devastation. The band was led by guitar player Euronymous, [Oystein
Aarseth] who took his name [apparently] from an old Hellhammer,
track ‘Eurynomous’ found on the 1983 Satanic Rites demo. The band
name is taken from the Venom song "Mayhem with Mercy.
Guitarist, Oystein Aarseth can be cited as the godfather of
Norwegian Black Metal, his very name evokes the acute reality of the
scenes early ascension, and his band surmounts the impressive list
of bands who make up the scene, as true cult legends. The very
mention |
of ‘Mayhem’
overshadows the very point of its existence, the music.
This statement rings true with every other Mayhem release, being
that the music has never lived up to expectations and how could it?
De Mysteris Dom Sathanas [translated as ‘Lord Satan's Secret Rites],
contains the very embodiment of Euronymous, at a time when a whole
movement was about to erupt. You can smell the smouldering remains
of wooden stave churches amongst the music’s claustrophobic
atmosphere.
With original Vocalist ‘Dead’, having blown his head off, the vocal
duties passed to Attilla Csihar [from Hungarian band Tormentor], and
his hellish drones are forever immortalized within the blood letting
magnitude of the album.
The cover is a silhouette of the Grand Cathedral, Nidaros-Domen, a
place Varg Vikernes had hinted at blowing up.
The songs are peerless, dispelling all pretenders to a fiery end.
Contrary to popular belief, Count Grishnackh does play bass on this
album; his bass was not removed as is widely thought.
Snorre Ruch plays guitar on the entire "De Mysteriis Dom Sathanas"
album, Ruch was never credited on the original version, but he is
credited in the liner notes for "The Studio Experience" box as well
as on Attila's "Beast Of" compilation. He also wrote a few riffs
(intros to Cursed in Eternity and From The Dark Past, and possibly a
few more shorter parts) and edited/partly re-wrote four of the
lyrics, as they were in fragments after Dead's death.
[Info courtesy of Dan Thorbjørnsen]
Some argue that without the controversy of events outside the music,
this album would be taken as a basic/standard Black Metal workout,
nothing special and doomed to obscurity. I would argue the opposite,
as De Mysteriis, just batters the air and subsequently lays barren
any preconceptions of ‘the sub-standard’ to dust.
It is far cry from the bands 1987 debut ‘Deathcrush’, a toneless
adaptation of Venom and Hellhammer, and consisting of all the
limitations of an inexperienced first release. By contrast the
follow up to the virtually immaculate, De Mysteriis, was Wolfs Lair
Abyss [1997] and A Grand Declaration of War [2000] were pale
comparisons, lacking personality and depth, albeit strong quality
Black Metal releases.
The release of the Ordo AD Chao album has reasserted the bands
former greatness, having captured the very wrought staleness of De
Mysteriis, and harnessing the bands most bleak sounding opus since
that classic debut. |
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3. Dark Throne - Under A Funeral Moon 1993 [Peaceville]
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Initially starting life in
1988, as a Jazz influenced Death metal band, the subsequent
influence of Euronymous would transform the sound into darker
territory. Without the influence of Euronymous, the band may well
have developed the not so inspiring music created on their debut,
Soulside Journey. Thankfully a darker spell was to direct the
creative spark into a more chilling form of music.
The re-animated Dark Throne, consisting of Nocturno Culto [bass],
Zephyrous [guitar], and Fenriz [Drums], released the Celtic frost
worshiping, ‘A Blaze in the Northern Sky’ in, 1992. It wasn’t until
the release of ‘Under a Funeral Moon’, that the whole primitive icy |
style so
imprinted on the Norwegian scene was truly born. Here we find the
chaotic atonal shroud of nihilism blasted from distorted guitars and
a punk driven aesthetic.
The following album, Transylvanian Hunger, ‘Norsk Ǻrysk Blak Metal
‘, just plummets the whole coarseness and unrefined soul of ‘Under a
Funeral Moon’, into a bleaker one dimensional aural dirge. Quite
brilliant, yet not as imminently distressing as its root creator,
the aforementioned, Under a Funeral Moon, is peerless in its
tragically brooding hollowness. [Some may beg to differ in favour of
Transylvanian Hunger]
Dark Throne have become the most consistent Norwegian Black Metal
band with numerous releases and remain true to their Black Metal
conception. The release of ‘The Cult is Alive’ album [2006] finds
the ever reliable Dark Throne producing yet another sturdy Black
Metal release, albeit lacking any of the venom of yesteryear. |
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4. Dimmu Borgir - Enthrone Darkness Triumphant 1997
[Nuclear Blast] |
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Like England’s Cradle of
Filth, this act has come under fire for the commercial widespread
appeal they seamlessly/ shamelessly! activate. Not forgetting the
band started on the cult ‘No Colours’ label with the ‘For All Tid’
album in 1995, that gained them a short lived relationship with
Cacophonous Records, from where the solid 1996, Stormblast’ opus
opened the doors to greater things.
The bands once underground credentials are now almost forgotten as
the gargantuan tonal riffs of Enthrone Darkness Triumphant thundered
into the genre like a wild untamed beast from beyond the fieriest of
cavernous clefts. |
One can argue
the cult qualities of ‘For All Tid’ set against the bonafide Nordic
atmosphere of ‘Stormblast’. But the sheer weight of ‘Enthroned
Darkness Triumphant’ literally set this band at the pinnacle of the
Black Metal tree. Massive orchestral arrangements riding alongside
vast pounding guitars and a production forged in the very bowels of
Hell. The wealth of memorable songs, all individually recognizable
sets such releases apart from the rest.
Some of the more underground minds would accuse Dimmu Borgir of
being a Black Metal Pop act with no real substance and I can
understand why, although to appease this line of debate, I would
cite Stormblast as the bands secondary classical masterpiece, an
album that took the keyboard driven ethos of Emperor to a new level.
Go back further and one could even cite the grim coldness of
Fimbulwinter [Shagraths pre-Dimmu band], as a fully fledged Black
Metal opus par excellence.
The following ‘Spiritual Black Dimensions’ [1999], although solid as
they come, was not in the same league, and neither was the more
complex, Puritanical Euphoric Misanthropia [2001]. The return to
form came in the shape of the brain compressing ‘Death Cult
Armageddon’, and this truly stunning opus is just beaten to the
accolade of the bands finest by the simple initial impact
‘Enthroned...’ when released.
The re-working of the complete Stormblast album, [2005] was a
pointless exercise to some. The release of In Sorte Diaboli in 2007,
is a decent enough album, but no worse or better than the previous
back catalogue. |
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5. Burzum/Burzum 1992 /Aske 1993 [Death Like Silence] |
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The first two Burzum
[meaning darkness], releases mark and define a genre alongside the
member ravaged Mayhem and rejuvenated Dark Throne. Cold and ugly,
empty and shallow. These emotions encompassed the atmosphere on
these recordings. Add to that the very real Evil aura of Varg
Vikernes, who would shortly create a legend by murdering the
visionary Euronymous, by stabbing him 23 times in a dispute over
money.
Burzum was formed in 1991, from the ashes of, Satanel [a band that
also included Abbath from Immortal], and the first two releases are
intimate examples of Neolithic Norwegian Black Metal. [Vikernes and
Abbath were also members of cult Norwegian Death metal act |
Old Funeral
1989-92]
The debut release and the equally icy Aske mcd, conjured a desolate
nightmarish musical soundscape. It was the terrifyingly abstract
compositions that gave the archaic Burzum sound its identity. The
writhing atmosphere created was one of a claustrophobic musical
entity relatively untouched by its surroundings, seeped in its
creator’s personal turmoil. The cover art for, Aske, is reputedly a
photo of one of the burnt churches Varg ignited.
With a dark brooding soul of Pagan neo-Nazi post-Nietzschean
philosophies, Burzums legacy is one of despairing nihilism and self
destruction. Add to this a shrieking vocal delivery that emanates a
gnawing discomfort born from Vargs turbulent mind and what you have
is a very real dark musical entity, free from the theatrical enamel
of many surrounding acts of the time.
There are among you that will be declaring the equally bottomless
abyss of agonizing sounds, on, Hvst Lyset Tar Oss as Burzums
ultimate triumph! These initial releases were followed by no less
minimalist albums until Vargs [Count Grishnackh] incarceration in
1994. Thereafter, creating not so fearful synth music from prison,
Vargs immense character became less enigmatic, although still a
troubled representation of the extreme NS politics that inhabit the
darker side of Black Metal
Varg, also contributed lyrics for the Dark Throne releases,
Transylvanian Hunger and Panzerfaust. |
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6. Satyricon - Nemesis Divina 1996 [Moonfog
Productions] |
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Having released their
first demo in 1992, the band gained great respect due to the frozen
atmospheres of the 1994 Dark Medieval Times and The Shadowthrone
albums, both classic examples of primitive funeral synth shrouded
Norwegian Black Metal. The release of Nemesis Divina was a
thunderbolt up the arse of high quality music and near perfect Black
Metal magnificence. The songs were thick with atmosphere and had the
weight of hell spewing from their arrangements. The crushing track
‘Mother North’ is just one example of how massive this release was.
This album just envelopes the ears with frosty Norse air. This album
was to inadvertently hinder the bands progression as the following |
album, Rebel
Extravaganza [1999], although good, was never going to eclipse the
former.
If anyone could predict what was to come, then they would have
remarked on the bands music becoming more marketable and thus
drawing the inevitable conclusion of pandering to a more consumer
related audience
The release of ‘Volcano’ set Satyricon apart from their numerous
copyists and cemented them into the elite division. The current,
Now, Diabolical, album finds the band progressing even further into
more melodic Metal moments, and maybe redefining the very core of
the Norwegian Black metal sound for the mainstream?
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7. Immortal - Pure Holocaust 1993
[Osmose Productions] |
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Formerly known as
Amputation, and playing Death metal until Euronymous introduced them
to his the Black Metal vision.
With a 7” Diabolical Fullmoon Mysticism
[1991] and debut album in ‘Diabolical Fullmoon Mysticism [1992],
this band can lay claim to being one of the original Black Metal
acts. The material on the aforementioned releases could never
inhabit the same icy atmosphere of ‘Pure Holocaust’, Pure Black
Metal at its raw to the bone finest, pure unquenchable terror oozing
from a crack in the Abyss. The band are one of the few Norwegian
acts who actually succeeded in progressing from underground to
over-ground, though never losing |
touch with
their roots.
With an emphasis on Corpse paint, [another Black metal image dropped
by other acts as they achieved greater acclaim], Immortals following
release, Battle in the North [1985], was a a mind ripping
blast-feast of hyper fast snares and lightning guitar riffs, a
classic album played at warp factor 9.
The 1997 album Blizzard Beasts could never match the articulate
perfection of ‘Battles’, and it didn’t. At The Heart Of Winter,
appeared in 1999 and the Immortal sound slowed to reveal a more
brooding beast of the Nordic ice winds. |
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8. Enslaved - Eld 1997 [Osmose Productions] |
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Formerly known as Phobia,
playing doom in the Autopsy style, the band adopted their name from
the, Immortal, demo cut ’Enslaved to Rot’.
One of the most underrated of all the Norwegian bands. Born from the
same era as Emperor, having shared the 1993 split cd , and having a
debut album in the form of ‘Frost’, coming a close second as the
bands best on this listing.
The following Vikingligr Veldi [Death Like Silence/Head Not Found]
was a more directly composed album. Whilst the jaw dropping Frost of
1994, revealed the awe inspiring quality this band has on offer. |
Yet it is with
‘Eld’, that the true essence of Enslaved bellowed forth. From the
sublime intro to the brilliance of first track proper ‘Hordalendingen’,
where acoustic guitars and soft vocals collide with blasting snares
and guttural roars. The basic elements of folk music are set to the
dynamics of intense Black Metal, with a dual chanting/screaming
vocal delivery.
The band subsequently released albums of increasing quality and
progressive elements, Blodhemn 1998, Mardraum 2002, Monumension
2000, and Below The Lights 2003, Isa, 2004, and the latest, Runn,
opus making a strong impact on the scene. |
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9. Gehenna - Seen Through The Veils Of Darkness 1995
[Cacophonous Records] |
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The band formed in 1993,
and released an absolute classic demo, Black Seared Heart, in the
same year. This contained some of the most chilling, expressive
Black Metal ever written and outside the nominations of full albums,
this demo would rise as Gehenna’s finest moment. It is strange that
the second album, had more in common with this demo than the first.
The 1994 debut, First Spell [Head Not Found Records], has a just
cause to be cited as the bands finest work, although I believe
Through the Veils to have a more potent arsenal of songs. From the
gloomy semi-depressive Black Metal of, First Spell, Gehenna ushered |
forth a more
up-beat and symphonic collections of tracks with ‘Seen through the
veils of Darkness’.
A keyboard driven symphonic neo-classical extension of what Emperor
had innovated, the collision of melodic orchestration with standard
guitars/drums to create another arm of extreme metals impressive
sub-genres. The album has Garm from Ulver on guest vocals.
After ‘Veils’, Gehenna released the less orchestral, Malice’ album
in 1996, a much acclaimed opus that seemed to secure the bands
ascension to greater things. With the departure of the keyboardist,
Gehenna slipped into a more Death Metal style and the momentum was
lost. The band have re-surfaced with a more than proficient ‘WWII’
opus, but those far distant days of masterful Black Metal
malevolence sadly remain as echoes from the past. |
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10. Borknagar - Borknagar 1995 [Malicious Records] |
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Formed in 1995 by Øystein
Garnes Brun of Norwegian death metal band Molested, with members of
Gorgoroth, Arcturus, Enslave, Immortal and Ulver to create what had
become one of the most intriguing and stylish bands to come out of
Norway. The debut has been chosen here to represent the coming
together of Borknagar in a razor sharp primitive display of violent
Black Metal. The release has none of the polish of the future
albums, and yet the Viking leanings of the vocals manage to cement
the sound at the very heart of Norwegian Black Metal. The following
1997 album, The Olden Domain, and certainly its natural offspring,
The Archaic Course album, in 1998, cemented that unique Borknagar |
style.
Borknagar have that rare distinguished sound and are one of the few
acts to own such a distinctive style that is instantly recognizable.
Other acts to own such status [out side the genre] are the likes of
Bal Sagoth, Sigh, and more obviously Voi Vod. Inimitable so to
speak, whereas most other acts are mutated across the board. |
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11 - 20 |
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61 - 70 |
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81 - 90 |
91 - 100 |
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